Samuel Le Paire Fine Art

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Samuel Le Paire Fine Art

SAMUEL LE PAIRE FINE ART
Private gallery, Paris
Only on appoitment Conseil en acquisition et vente d'oeuvres d'art / Advice in acquisition and sale of artwork

11/08/2025

3,581 Followers, 2,025 Following, 293 Posts

17/12/2024

Arman’s Symphonie florale is one of his Accumulations, a series that the artist began in the 1960s. The artist, through this series, is mainly interested in the status of the object and the relationship that societies maintain with it, oscillating between sacralization and overconsumption. This work offers a biomorphic aesthetic around the tentacles of the saxophone. If its title does not hide a certain lyricism around the musical instrument, Symphonie florale, by its raw materiality, exposes the spectator to the vivacity of reality.

Arman
‘Symphonie florale’, 1984
Sculpture en bronze
74 x 70 x 60 cm

17/12/2024

Known for his constructions based on mass-produced and disposable products, Thomas Hirschhorn dialogues both with references drawn from popular media and with the work of radical theorists such as Gilles Deleuze and Georges Bataille. Most of Thomas Hirschhorn's works play with familiar, urban forms, evoking stalls, flea markets, pamphlets and placards such as the dazibao of China.
From 2001 to 2004, invited by the Laboratoires d'Aubervilliers, Hirschhorn set up ‘Le musée Précaire d'Albinet’, a "precarious museum" designed to house major works of twentieth-century art from the collections of the Centre Pompidou and the Fond National d'Art Contemporain.
By moving these major works to the outskirts of the capital and involving local residents in the entire project process, Thomas Hirschhorn shows that art is an issue that can concern every individual.
The portraits of the eight artists featured in this work: Malévitch, Mondrian, Léger, Dali, Le Corbusier, Warhol, Beuys and Duchamp, are the 8 artists whose works were exhibited during the project.

Thomas Hirschhorn
Musée précaire Albinet (Lighter), 2004
Technique mixte
130 x 45,5 cm

17/12/2024

"I, your glass, will modestly discover to yourself, that of yourself which you yet know not of." - William Shakespeare, 'Julius Caesar'

Where is the line between self-consciousness and solipsism?

Mirrors have always been a subtly disruptive force in art, calling attention to the very practice of visual representation. First seized as an opportunity for painterly flair, the mirror was soon shrouded in symbolism.

This 1987 work by Bertrand Lavier, "Untitled", represents the apotheosis of an artistic tradition that stretches from van Eyck to Rockwell, challenging notions of self-perception with unflinching intensity. An iconoclastic figure who reframed Duchamp’s notion of the ‘ready-made’ as the ‘ready-destroyed’, Lavier was never one to rest on his laurels, constantly developing his artistic expression.

His commentary is many-layered, having distorted a once-perfect surface with semi-transparent silver paint. Unable to access the superficial, the viewer is called to introspection: what lies behind the face they were expecting to see? For, mirror or not, that will remain the same.

We must heed the mirror’s warning, lest the lines of vanitas and veritas become irrevocably blurred, and we face Narcissus’s fate… 💀

Take a moment to reflect.

Text wrote by Panayotis Galatis

17/12/2024

Robert Combas is a leading figure in the "Figuration Libre" movement, which emerged in the late 70s. He creates hectic narratives of war, crime, s*x, partying and transgression. Influenced by children's books, comic strips, graffiti and everything that makes popular culture accessible to all, Combas also reclaims the tradition of the painter in the studio. His painting is also inspired by rock music and its frenetic style. His work is characterized by the use of diverse materials and discordant colors.
This work, dated 1989, is an acrylic on fabric. Through a profusion of motifs framed by a black line characteristic of Combas' work, 3 purple and orange fish stand out against a predominantly green background. The irreverent tone dear to Combas is echoed in the title of the work: 'Les poissons en fête font les cons sans queue ni tête' ('Festive Fish Play Dumb With No Head Or Tail').

Robert COMBAS
Les poissons en fête font les cons sans queue ni tête (Festive Fish Play Dumb With No Head Or Tail), 1989
Acrylique sur tissus / Acrylic on fabric
120 x 130 cm

17/12/2024

Hans Hartung was a German painter born in 1904, who became a key figure in the abstract art movement. After facing the challenges of World War II, he settled in France, where he developed his signature style.

Hans Hartung’s P1960-303 is a compelling example of his exploration of form and movement.

Executed in 1960, this piece features a bold interplay of black lines and vibrant color fields, capturing the tension between control and spontaneity.

The sweeping brushstrokes evoke a sense of rhythm and energy, reflecting Hartung’s interest in the physicality of paint. Notably, the use of varying thickness of the lines adds depth and dimension, inviting viewers to engage with the layers of emotion embedded in the work.

17/12/2024

According to Giuseppe Penone: "Nature is not separate from man, man himself is nature."

As the son and grandson of a farmer, contact with the land has always been very important to Penone. Nature spreads through his work. In particular, he creates drawings in which human nature mingles with plant nature, and in which bodies become supports for nature.
Associated with the Arte Povera movement, Penone's artistic activity favors the process, i.e. the creative gesture, over the finished object.

This drawing exhibited in « The Poetry of Fluids », in a few charcoal strokes, captures the artist's hand and movements. Penone makes this half-human, half-plant figure evolve as if animated by vital energies, the sap circulating in his body.

Exhibition at

17/12/2024

"Painting undermines the sight (...). It forces the spectator to go further, it gives an opening, a depth which can change people's relation to reality." - Gérard Schlosser

Member of the Figuration Narrative movement, Gérard Schlosser chooses to show fractions of reality. His works are always characterized by the two elements that define his identity: a phrase that serves as the introduction to each work, and a very tight, almost cinematic framing.
All his canvases are systematically sandblasted, giving the colored surfaces a very special vibrancy: each small grain adds the depth of its own shape, with a share of shadow and a share of light.

"Ça arrive vite", dated 1985, acrylic on sand canvas, is part of this aesthetic. This close-up view of a shoreline revives the themes of Impressionist painting, whose painters repeatedly depicted variations of light on water.

Gérard SCHLOSSER
Ça arrive vite (It Happens Fast ou It Is Coming Fast), 1985
Acrylique sur toile sablée / Acrylic on sandblasted canvas
162 x 130 cm
Œuvre titrée, datée et signée au dos. Certificat établi par l’artiste.

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